mongo

yes, but to be fair semma has a michelin star and foxface does not (yet).

now you can finally get the goods on this jumped-up diner peddling overpriced scampi.

well, we received 6 pieces of shrimp so i don't know what the fuss is all about.

the coveted my annoying opinions review will be dropping next week as well.

(i don't actually want to hear from hannah gadsby.)

i'd like to hear from hannah gadsby.

how dare he leave foxface natural off his list?!! the bounder.

will the chefs cooking at the flay dinner wear shirts that emphasize their nipples?

italian restaurants in new york, but, yes, that is an incredibly wrong-headed take, or a very misguided attempt at stoking controversy-views.

i'm a big fan of tammie t.

there's cheap(er) cognac too.

see if anyone carries our favourite minnesota apple: haralson. tart with a musky-sweet edge. introduced by the university of minnesota just about 100 years ago.

it was a person of impeccable taste who recommended that to you. i still have a couple of bottles left.

well, you're never going to become editor-in-chief of eater at this rate.

the term "antelope" has no real scientific meaning and so he doesn't have to.

(is there any hope of the old content coming back?)

tim o'rous beastie. scottish gentleman.

the point is you'll see the word "confit" on menus of all kinds of restaurants that have no pretension to being french. farci? not so much.

slightly?

yes, she should know "confit". it's a term that is far more prevalent, as a method of cooking and not just the name of a finished dish. not knowing it would suggest the editor-in-chief of eater does not eat out.

ah, okay. hard to tell in the flow of disjointed forum conversation. i did say it was unexpected.

so, once upon a time it would have been truly shocking if an american food writer working for a major publication did not have an intimate knowledge of the terminology of french cuisine. now it's not really the end of the world and to behave like it is is perhaps to reveal an unexpected nostalgia. and speaking of unexpected things, sneak, your talk of "high and low" when i gave the analogy of american critics not knowing the names of more than 1-2 indian film-makers seems revealing as well. it would seem to suggest that you automatically think of indian cinema as "low" and french as "high" when you say that i am privileging one over the other (which i'm not anyway: i'm saying it's hard to keep track these days because people have to know a lot more).

chou farci person? sure, it may turn out that given her biography (which, i don't know) she should know the names of more french dishes than she seems to know. but sneak wasn't responding to her biography (which he doesn't know either) but to the very idea of a food writer--even if the editor-in-chief of eater--having to google the term "chou farci" and that's what i was responding to. my point is that the horizon of culinary coverage in the u.s has expanded dramatically in the last 10 years and much as we might want every food writer to know every important term in every important cuisine, this is no more possible now than to expect a literary scholar to know every important writer/book in every major literary tradition--to take an analogy from my line of work. once upon a time, pretty much every professor of literature could have told you what an anapest is or rattled off an example of trochaic pentameter. now most would have to google. this is because the canon has exploded and the larger world of literary study has become impossible for anyone to keep track of.

it's not a question of high and low. (the analogue of rene clair in my comparison would be a long list of serious indian film directors.) it's a question of a canon. i do agree with you that the state of food writing is generally quite dire these days. but the proof of that is not the fact that eater's editor-in-chief makes a flip comment about googling the name of a french dish in a listicle.

given that the vast majority of american film critics* show no evidence of knowing the names of more than 1 or 2 indian film-makers of the 20th century, i'm not particularly exercised if they don't know the names of every significant french film-maker either. *the french, it must be said, are far better on this score.